#and show just how complicated family can be

[ckret2]

I might tweak some details later (jewelry? take the ribbon off the bow?) but I've about got a Scalene design I like. The lipstick is really the centerpiece of the design. Now let's infodump! With more art!

🔺 Notice her lines are a a little curvy. It's not for artistic effect. She's got a Fictional Polygon Physical Disorder that makes her bendier than she should be—meaning, among other things, sides that curve and flex.

🔺 It's also the kind of condition with symptoms that are romanticized by people who don't grok that it's a debilitating medical condition. Sides that curve and flex? How exotic! This went to her head in the wrong ways.

🔺 Bill was born with the same condition. You know how squishy and blobby he was as a baby? Thaaat's genetic! He was a lot squishier than most babies! And, consequently, more adorable.

🔺Scalene dreamed of being a famous super model. Was actually a teen beauty queen at mid-tier beauty pageants. She thinks it's always somebody else's fault she wasn't more successful.

🔺 She took Bill to his first baby beauty pageant the day he was born. He did, in fact, have a Best Baby Ever award presented to him by the mayor, but to be fair he was only competing against like 6 other babies and who's going to withhold a trophy from a newborn on his birthday? Anyway the 6-12 month group and 12-24 month groups also each had a Best Baby Ever award.

🔺 This was an absolutely bonkers thing for Scalene to do.

🔺 What's that small scrunkly thing doing at a pageant, he can't even see color yet.

🔺 Their fictional squishy medical condition doesn't just accidentally make shapes cute. It's the kind of condition that affects just about all parts of the body: sides won't stay straight, poor muscle tone resulting in instability & weakness, poor motor coordination & clumsiness, back aches & pains (well, triangles don't have "backs." side aches?), easily dislocated joints, and increasingly skewed sides with age. Just about everyone in Scalene's family is born equilateral and ends up extremely scalene after young adulthood. The rest of her family have normal relationships with their condition, she's the only one who's weird about it

🔺 She was very rough on her body in pursuit of pageantry success, but her physical symptoms & associated chronic pain got a lot worse due to having a kid; she had to retire from pageantry for good. She doesn't blame Bill for this at all. Out loud, to his face. (If she hadn't been so rough on herself in pageants, having a kid probably wouldn't have impacted her health this much. She doesn't consider this.)

🔺 She's weirdly intent on seeing Bill become the success she wasn't. He's her little golden child, he deserves to be seen as the greatest! He'll show them how great he is for mommy, won't he? He won't let mommy down, will he? When he's very young, she takes him to child pageants—he'll appreciate the lessons they taught him when he's older—and this lasts until he finds out he can get out of it by pyrokinetically setting the stage on fire.

🔺 She jokes ("jokes") that she didn't realize that when she was having a kid, she was firing herself from the pageant circuit so she could hire & train her own replacement. These jokes had no long-term impact on Bill at all!!!

(Compare/contrast: how we're told Stan's "You watch the movie, you scare the girl, the girl snuggles up next to you, next thing you know you gotta raise a kid, your life falls apart" is repeating something he heard his dad say.)

🔺 Did you know that squeaky baby shoes are sometimes medical devices? Squeakers help children with poor muscle tone and delayed motor skills learn how to walk correctly: it makes them want to walk on their heels instead of their toes so they can hear the squeak. Did you know sometimes oversized squeaky baby shoes are worn by young kids who need ankle braces? Did you know that kids with poor motor coordination can take a longer time to learn complicated motor skills like tying shoelaces rather than using shoes with velcro straps? It sure is interesting that baby Bill's most defining visual feature is oversized squeaky sneakers with velcro straps and that he kept wearing velcro shoes until he was 16!

🔺 As a baby, Bill's angles were technically supposed to be equilateral,* but thanks to his inherited condition, his angles were so loose his top corner practically formed a right angle. Not good: the closer a triangle creeps to being obtuse, the more likely he'll have muscle strain and medical issues from his organs being squished out of place by his own exoskeleton.

(*supposed to be equilateral: but after receiving treatment, they discovered his angles were still 60º, 60º, and 60.1º, which is mathematically impossible for a triangle... on a euclidean plane. But on a non-euclidean 3D plane, such as in spherical geometry, a triangle's angles can add up to more than 180º... and it's this slight 3D flex to Bill's body that lets him see up into the third dimension.)

🔺 For his first few years of life he actually had a hypotenuse, until physical therapy and side braces helped him improve his muscle tone. Sometimes he still reflexively refers to his base as his hypotenuse. It's fine, sweetie, it's nothing to be embarrassed about, mommy had a hypotenuse too. Don't tell anyone.

🔺 Scalene took baby Billy to a lot of doctors as a kid, just like how she was taken to a lot of doctors! Doctor for his side braces, doctor for his physical therapy, doctor for his shoes... doctor for his eye when he started talking about seeing white glitter at the edge of his vision. Scalene didn't have that symptom, but the eye doc said their condition does occasionally come with visual problems—blurred vision, lazy eye, visual field defects... It sounds like Bill's main field of vision is unobstructed, but if the visual snow he's getting in his peripheral vision is distracting him and confusing his little toddler mind into thinking it's something real, they can give him a medication that'll narrow his field of view. From the sound of it, he's not seeing anything important at the edge of his vision, anyway.

And she only wants what's best for her golden child.

🔺 Scalene's "bow" is actually a medical device: sort of like a medical corset, it helps tug and press her anatomy into place to reduce pain. Bill started wearing one preventatively—if he can keep everything in place when he's young, it'll take longer for his angles to skew when he's older. Like wearing a retainer when you get your braces out.

🔺 He has a cane for the same reason—he doesn't need it NOW when he's young, but he might as well keep it on hand, by age 35 he'll probably want to stand more often than float and when he's standing he'll probably want the extra support! Even if he doesn't need it by 35, he will eventually!!

🔺 Bill doesn't medically need a bow tie in the third dimension either; but he adapted it to help tie his 3D exoskeleton on.

🔺 A trillion years later, Bill suspects that his mutation to see the third dimension came, at least in part, from his mom's medical condition. Except, she didn't have that vision. Nobody else with the condition on her side of the family had that vision. It's not a known symptom of the condition. His dad had stuff going on with his eye too, did he get it from his dad's side? A mix of both? Just a standalone random mutation? He doesn't know; and with the rest of his species dead, there's no way for him to find out.

But back to Scalene!

🔺 She's not quite red, she's rose gold. However she doesn't like it. She thinks it's a sort of pinkish brown and very dull. She uses makeup to make herself look redder. Note how bright red her sides are: in a species where only your edges are visible, body paint is the most common form of makeup+fashion. She's pleased her baby came out gold-gold, it's much cuter. Bill knows she's rose gold, but he only saw her with her makeup off when she was tired or sick; he remembers her painted red.

🔺 She adores her Billy; but she somewhat sees him as an extension of her will. She thinks he's just perfect and will tell anyone who asks; but she also demands he be perfect and is furious when he isn't. She'll protect him from ANY perceived external threat; but she'll tough love him into being the kind of success she thinks he should be. He learns early that when he screws up, he can often redirect his mother's anger by pointing his finger and saying it's someone else's fault, and she'll bring the wrath of heaven down on them. Woe to the teacher who gives Bill an F on a test.

🔺 I'm on a quest to write Bill as a foil to the entire cast of Gravity Falls, and that extends to writing his family as a foil to the entire cast's families. Scalene's a blend of Pacifica's mom and Caryn: beautiful, proud of her beauty, afraid of losing her youth, self-aggrandizing, quick to lie about her & her family's (false/exaggerated) accomplishments—and very aware of the fact that you can say anything about woo-woo mystical matters and nobody can prove you wrong.

🔺 So she takes it great when they figure out Bill is, like, legit psychic. And by "takes it great" I mean "starts a cult."

There's what I've got on Scalene. Fortunately, I got to keep all my pre-TBOB headcanons about Bill's mom, I only had to change her shape & color. I already had medical trauma baked right into the family!

(Preemptive disclaimer before I get any "but she doesn't look 2D" comments: we all understand that the baby Bill picture we see in the book is a psychically-generated 3D approximation of Bill's 2D Euclidean form, right? And that drawing a 3D baby Bill design alongside rigidly 2D parent designs would make it look like even in the second dimension Bill already had a 3D body, right? So, if we're drawing a 3D baby Bill and want to convey that they looked similar to him, we have to draw his parents in a similar art style, right? Okay, great.)

[gods-perfect-idiots]

Okay bear with me folks, I have some ~thoughts~ about the Vanessa/Wade relationship (or frankly lack thereof) in Deadpool & Wolverine. I should start by saying that I am analyzing this with the (likely erroneous) assumption that everything on screen is 100% intentional and mindfully written to deepen the characters and inform their arcs. For the record, I don't necessarily believe that's true - there is certainly room for mistakes, lazy writing, confusing plot elements, or in this case, sidelining a potentially strong and important character for nebulous reasons (I'm guessing scheduling conflicts + run time concerns + actor's strike complications but idk for sure). (Also thanks to @gossippool and @kendyroy for encouraging me to post my thoughts instead of just rambling in the tags in the first place, y'all are the realest)

Long rambly post below the cut fyi

Now, granted, it has been a while since I watched the original Deadpool so I am not as well-versed in their early relationship as I am in the handful of scenes Morena Baccarin has in dp3, but I do think it is pretty canon that Wade generally struggles to express his deeper worries and feelings (without filtering it heavily through crude humor, sex, and pop culture references of course), especially after the events of dp1 and the physical and mental damage he sustains, and Vanessa is frankly no exception despite how much he cares for her. The entire first movie hinges on the fact that he doesn't really believe she could love him in his post-Francis mangled state, which is pretty contrived imo given that the film has established already how bonded they are, and she doesn't strike me as being written to be so shallow as to reject him based on a physical deformity. I mean iirc she wanted to stick around through chemo despite him being literally riddled with inoperable cancer, so she clearly is in it for the long haul (at least in dp1), messiness and all.

Now, in dp2, obviously she is shot and killed early in the film, and Wade spends much of the rest of the film wallowing in his very profound grief, trauma, and guilt over losing her due directly to his violent lifestyle. He goes to prison, he basically gives up on life and seems very resigned to dying once he has the power suppressant collar on, even excited to do so so he can be reunited with her. She is mostly sidelined as a Fuzzy Dead Wife trope basically, but the important thing here is that he spends weeks if not months in the throes of despair over losing the love of his life just as they were trying to start a family, and trying to reach across the boundaries of death to be with her.

Now, my first couple times watching dp3 I was frustrated by the trite narrative presented in the interview scene towards the beginning - specifically Wade's whole "my girl is getting tired of my shtick and I need to show her I matter". It felt contrived and disingenuous, and I just brushed it off as iffy writing, a means to an end, but the more I reflect upon it the more I think it is based in an emotional reality that is just handled with a very light touch by the film in favor of fanservice and Poolverine content (NOT that I'm complaining in the slightest - I think this movie is a masterpiece in many ways, albeit a flawed one but that's beside the point here), which for the record I am not against because I think it lends it an air of realism. This is Wade's story after all, Vanessa is a part of it but it is ultimately about him and his journey.

Basically, I think the combination of what happened to him in dp1 (the brain damage, the trauma, the awareness of the fourth wall, etc) followed by the events of dp2 (Vanessa's death, his grief and the associated guilt and trauma of being the direct cause of her death) led to an unbridgeable emotional gap between the two of them that ultimately leads to their breakup.

It's important to note that I don't think Vanessa has any recollection of her own death, given that Wade goes back and saves her before she can take the bullet, and so of course she can never fully fathom what Wade went through grieving her and their life together and their potential family, for however long he spent between her death and bringing her back with Cable's device. She can try (and she clearly does in the one scene I'll talk about next) but I fear she accepts, maybe even in that scene, that she can never succeed. He is beyond her reach by this point, and vice versa, his experiences having fundamentally changed him.

The one scene we really see from their relationship between dp2 and dp3 is the one where Cassandra mind-gropes Wade in the Void and we see Vanessa struggling to reach Wade across this aforementioned gap - she wants him to open up, she wants him to share what he's going through, she wants him to be the person she initially fell in love with (not even selfishly - to her nothing has changed really, because to her no time has passed). But not only does he not understand what she's really asking for but he responds in such a way that makes me think he has unprocessed issues that are only tangentially related to what she's saying - ie the stuff about mattering, about asking her if she even wants to be with him, etc. And he's not the Wade Wilson she met back in dp1 anymore. He watched her die and grieved her and brought her back, believing it would make everything go back to normal and they could resume their life together as if nothing had changed, but he has been fundamentally changed in a way that she can't grasp, even if he WAS good at externally processing his trauma openly without the artifice of wry jokes. She didn't "come back wrong" - instead, she came back exactly the same as before, but HE'S different now. Not wrong, per se. But changed.

It's an interesting scene because it's obviously a memory, and a crucial one at that, but you can see how Wade is misunderstanding what she's saying, viewing it through the prism of his own lack of self-worth and his own hopelessness - he takes away that she thinks he doesn't matter (even though like he says she didn't actually say that, but I don't think Cassandra invented that wholecloth - I think she pulled it out of his psyche because that's what he believes deep down, hence why his fixation on mattering even though she never said those words exactly), he takes away that she doesn't want to be with him, that she thinks he's nothing. Which would be frustrating as an audience member to witness as a pretty simple misunderstanding which could potentially be solved with one conversation, but it feels believable to me that these two people who have shared a great love would be fundamentally separated by unimaginable, cosmic trauma, and the on conversation they would need to have to rectify the misunderstanding is one that is impossible for Wade to verbalize and equally impossible for Vanessa to conceive of. It was one thing when they had shared trauma like violence and SA in dp1, but what Wade has gone through in dp1 and dp2, humor aside, is unfathomably traumatic, brain-breakingly so even, and that's not even factoring in the possible mental illnesses he now struggles with (I've seen folks suggest schizophrenia, DID, depression, etc. but I won't get into armchair diagnosing a fictional character here - suffice it to say he is canonically unwell as a result of what has happened to him, and yes it manifests as quirky fourth wall breaks and cheeky one-liners, but within the universe of the movies he is undeniably profoundly mentally ill, and that includes this humorous alter ego he created to cope with his trauma).

I think off-screen Vanessa probably really tried to reach him, maybe for years (the six year gap implies to me that they didn't break up immediately, that they tried for a while to stay together), trying to get her Wade back, but that Wade is gone. He struggled to express that to her until eventually he started to feel rejected because he couldn't express his trauma or how much he has changed, because even he can't fully conceive of the gulf that has formed between them. The truth is, he WANTS to be that Wade again, for her and for himself, but that Wade died when she died. Or maybe he had already started dying when Francis got a hold of him in dp1.

Anyway, all this is to say, I think Morena Baccarin WAS criminally underutilized in dp2 and dp3, but I think there is a strong argument to be made for the believability of their breakup regardless. I think even relationships built on enormous love can crumble due to trauma, and what Wade suffers over these movies is mind-bogglingly enormous trauma. It's especially heartbreaking that he blames himself for their relationship ending, talks like she just got tired of him, thought he didn't matter, whatever. But it is a credit to him that he never seems to feel anger towards her about it. He doesn't seem to feel entitled to her, though he longs for her and what they had and what she represented (hope, love, a future, a family), but ultimately she becomes more of a symbol of what he lost when he gained his powers, because let's be super fr right now - even if they had succeeded in having a baby, not only would they have lived in fear of her or the kid getting killed, but ultimately Wade would likely outlive both of them even if they managed to die natural deaths. The moment he gained his powers he was already destined to lose her, which is heartbreaking because she was the only reason he opted for the treatment in the first place - so he could stay with her.

I think a big part of Deadpool & Wolverine is watching Wade continue to process his own motivations (vis-a-vis Vanessa but also his other friends) and how he does eventually let go of the idea of "mattering" in favor of just saving the people he cares about (*cough* and being saved right back *cough* by Wolvie, as the final line and shot implies). And in the process he finds someone new who cares about him, who thinks he matters, who tries to sacrifice himself for him and his friends after mere days of knowing him, who comes home with him at the end of the story, who breaks his own centuries-old patterns, who has also experienced unimaginable grief and trauma, who has struggled with wanting to die and being unable to, who not only matches his crazy but matches his FREAK and also not only won't die on him but CAN'T die on him - and more importantly cannot be randomly killed by a stray bullet.

Idk if any of this makes much sense but I do think if you read between the lines and consider the potency of trauma and grief, guilt and emotional damage at play here, Vanessa and Wade's off-screen breakup is actually pretty realistic, and really heart-breaking to boot.

You can tell she still cares about him in so many ways - she shows up for his birthday party, she shows up to his welcome home party at the end, she finds excuses for physical contact multiple times, her eyes get soft when she looks at him, but there is a distance there that Morena Baccarin does an incredible job of portraying. She cares about him deeply, she has mourned the loss of their potential life together, she has let him go and accepted that the Wade she fell in love with is gone, but she wants him in her life even though she's moving on because she realizes he's gone somewhere she can't follow (literally and figuratively). And she wants him to be happy which is why I fully believe she would immediately clock the Poolverine of it all and not-so-subtly encourage them to make it official.

Anyway. Poolverine forever. Nothing against Vanessa at all - I think she delivers a nuanced and beautiful performance, I think their relationship is sweet and heart-wrenching in large part due to her acting chops, especially given how little she is given to work with - but I think their relationship was sadly doomed from almost the very start, because Wade becomes this traumatized superhuman and Vanessa would always be at risk in his orbit, but also would always on the outside of his multiverse superhero experiences. I think it's weirdly beautiful, even if I am filling in a lot of gaps and giving the writers maybe undue credit.

Anyway... thoughts? Please DM me or write in the tags, I am feral about this movie and just want to talk about it with anyone haha. If you have further insight into these characters too I'd love to hear it - I am by no means an expert in these movies or characters!

[realmsalot]

I've been obsessed with Relativity Falls au for some reason lately so of course I've been turning around my own version in my head lately. And with Fiddleford I keep flip flopping on who I would switch him because there are many good options. Like

Fiddleford <> Pacifica:

This seems to be the most popular option, I've seen many old woman Pacifica designs, but I personally cannot see McGucket be the snotty rich kid that Pacifica was at the start. I CAN see how he could be rich (Tate McGucket probably invented something and got a lot of money for it) but CAN'T see him be anyway snotty about it. I think the best way to make Fiddleford fit this role is through a series of misunderstandings. He is trying SO HARD to be nice to these twin brothers who are spending their summer in Gravity Falls and he just keeps messing up. He tries to make a robot to help them out but it end up turning evil and they assume that it was ment to sabotage them from the start. He tries to have a nice conversation with them but because he's rich he's just out touch enough to come off rude and show offy. FIDDS IS TRYING TO BE NICE FROM THE START!

Fiddleford <> Candy

It is easily the second most popular option here. There really isn't much to say with this one it's probably the one that makes the most sense. I can easily see Candy going to Backupsmore and telling Dipper/Mabel about the weird things shes seen in Gravity Falls. The idea that Stanley and Fidds became friends first before Ford and Fidds is interesting. My main grip with it is that if we're going with the version where Dipper is swapped with Ford, it implies that Mable and Candy never really became friends in this universe, which I find really sad. Honestly I think that the main reason this swap exists in that context is because of that one episode were they go on a road trip and Candy got crush on Dipper mixed with fact that many people ship FiddleAuthor.

Fiddleford <> Soos

Hear me out, hear me OUT! I've seen a few versions where even when Soos' Grandma is swapped with Soos, they also add Fidds as a handyman at the Shack anyways. But why not go the whole way, ya'know? Soos was a friend that Dipper met and shared a dorm with in Backupsmore. Soos was still older than Dipper. Soos and Melody were already married with a kid on the way, and Soos was also Gravity Falls' local handyman. He decided to get college and get like a mechanical engineering degree or maybe a trade in something there because even in the small town of Gravity Falls technology was only getting more and more complicated and Soos wanted to be able to keep up so he can keep making money for his family by fixing things. During their time at Backupsmore, Soos would tell Dipper about some of the crazy things he's seen living in Gravity Falls, and that inspires Dipper to go study it after college. And then the rest of that rolls out predictably. I can easily (and sadly) see Soos becoming the local kook. I imagine that it will also be much sadder for the locals to see Soos acting up because many of them have memories of him coming to fix their microwaves and stuff. And as for Fidds, he's the Mystery Shack's handyman. You can make him around the same age as the Stan twins, we know that in cannon that Soos started working there around that age, so he doesn't have to be Soos' cannon age. I think this works best with Dipper and Ford switching places because in cannon Dipper and Soos were friends, so it kinda easily transfers, ya'know. I've put a lot in this one.

And uh yeah that's my incoherent ramblings...

[fivelasanctum]

Dark Fivela *Five Edition*

Update on the nightmare sequence. Apparently they filmed it with five which hits hard in the feels. He could be holding on to his own sanity but it's precarious at best. Would be romantic but also depressing if Lila and Five had the same nightmares of losing the other to insanity. Lila has been called 'Crazy Lady' but it's five who has danced with madness multiple times in his life. Some outwardly, some from his past and emotions/feelings underneath the surface. Ironic given the from the montage, he seemed like he was her rock. Which makes sense since this is Lila's first rodeo with dealing with it to this degree. Five here, doesn't look as unhinged as Lila but might be worse. He stares listlessly at her. No emotion. The opposite of love isn't always hate but apathy. He surrenders to the impulse to give up. Foreshadowing of his suicidal, broken hearted mindset at the end of the season. If he doesn't have her, he rather let the world burn. Go back to their purgatory alone to be lost physically and in the mind or worse...end himself. He saw himself when he was on that course but in the end...death would happen. Just about how one dies. (Least they had a chance to communicate with their eyes and hold each other) He slowly backs away from her. Abandoning lila to it all. Going into the light of the cracked open subway. Symbolically it's beautiful. Where as they cursed the subway often for their predicament; it was their safe haven from the horrors they could face outside of the time stops. A place for them to laugh, share stories...where they truly sat down to know each other. In this case, can represent the mind. Given how five was going towards the broken opening of it. It's ambiguous given the short clip but if you look between the lines, Lila's own fears were manifesting. Yes being alone like Five suffered for 45 years but something more there with him walking away. Not having warmth in his eyes. Not caring (loving) her anymore and shutting down. Leaving everything behind. This was early in their subway travels so could show that she did already love him but was hidden under denial and how it would look like. Perhaps, scared if she did reveal her feelings too early...the judgements from Five since one would think he would be more loyal to his family over someone who cares for him (at this point she could have been unsure) The fear of losing him by misreading the emotions but also the domino effect of the entire family closing her out if it wasn't reciprocated. Their is her complications with kids and still being married and all ^^; Or this was a sobering moment in the nightmare, causing her to realize how much she had grown to care for him (outside of reliance for survival) if she lost him completely to insanity. Much to ponder with these clips. This song came to my mind with this whole concept. If we had more darker fivela scenes I could imagine all the edits with the song. Missed opportunities... https://www.youtube.com/watch?v=Qn862pSFe_M

[pynkhues]

I kept thinking about how much Louis bases his worth on money and work and realized that he never really experienced poverty. He was well-off as a human, he struggled briefly in Paris but since he got with Armand he pretty much lived the life of a luxury lmao. Nothing comparing to the poverty that Lestat and and Armand experienced. Ngl, l was a little dissapointed when it turned out that Louis took everything in divorce. There's a line in iwtw when he was like: he could make me kill children but not part with my money, so what would it take to make Louis willingly part with his money? Can you ever take the capitalist out of him? I really wanted to see him living in a hovel wearing rags like he did at certain point in the books not live that rich capitalistic lifestyle lmao, but I don't think we gonna see it :(

Mm, he never experienced poverty per se, no, at least not in the way Armand, Lestat and Claudia all have, but I think Louis' relationship with money is very complicated, in no small part because money is used against him as a form of racial violence when he's a young man in New Orleans.

I've talked about it on here a couple of times now, but I've been doing a lot of research lately on the culture of money for a project that I'm working on, because it's systemic failures to understand that money is not an objective thing, but something that wields enormous social power, that allows for financial abuse to happen. While I'm researching it specifically through a domestic violence lens, there's a lot of crossover with that when it comes to racism and government failures in acknowledging how money is used to further entrench not just inequity, but racial violence (I've actually been particularly researching dowry and remittance abuse too, which is fascinating and uniquely awful [not dowries and remittance payments themselves, but the way they can be weaponised particularly in culturally blind systems like we have in Australia]).

The first few episodes are extremely clear that Louis' experiences as a professional man have been limited by his race, but they're also clear that he's a victim of financial abuse by white society men who'd pay him a fraction of his worth in exchange for a seat at the table they clearly don't think he belongs at. This is pretty much said explicitly at the card game scene in 1.01 (and not really here nor there for this post, but I think a vital point of connection in that Lestat sees this for what it is and maintains the ruse while helping Louis to cheat a game that's rigged against him).

Louis swallows it because he's ambitious, yes, but also because he's the sole provider left in his family given nobody else in his family has the want or capacity to work.

We don't know the entire situation with his father's sugar plantation, but the implication is that it wasn't in good shape when he died, which is a part of the reason Louis became a pimp. He needed to make money to keep his family not just financially secure, but thriving, but at the same time, Louis' desire to earn is, in my opinion, about more than just personal ambition and providing, it's about social power, autonomy and independence. For him, money is symbolically something that was used to keep him low and to keep him out of what he knew he deserved, and I don't really think that's changed for him. He uses it to buy what he wants, yes, in art and interviews and blood donors, but it's also I think about having social power over the society that once exercised repressive and racist power over him.

I think the version of the character we get on the show would never give that up, and honestly, I wouldn't want him to? I think thematically it's too important now as it's tied inherently to Louis having both options and autonomy, and I don't really like the implications for his character about what it'd mean to give it all up.

As for Armand - we don't actually know if he ends up with nothing post-s2. Yes, Louis keeps the Dubai apartment and kicks Armand out, but I kind of assume they'll have done some sort of asset split (although I do imagine Louis will take most of it, because of his association with money and power). Given how rich they seemed to be, I imagine even if Armand does get a fraction of what Louis keeps, it'd probably still be an eye-watering amount of money, haha.

[jemmo]

i cant even begin to explain how interesting i found this ep, but i think it all centres on night saying that day was a crybaby as a child, and yet in this ep he’s the one we see cry the least. and while i dont want to diminish how insanely difficult it is for day to lose his sight completely, i mean, we all saw the end of last weeks ep, i find it so interesting that it was the other people in his family that struggled with it the most, in their own ways. it makes me think about how for day, this is something he’s known is coming, and it’s only he who knows how his sight is deteriorating, so it’s not a shock, and while it’s upsetting for mohk, day confides in him enough that he knew it was coming to, and they had that cathartic moment together. but for his mom and for night, they didn’t see it coming, which is why it’s completely understandable that she panics. it might not seem like panic on the surface bc she’s a very put together woman, but the need to protect day and keep him away from any possible harm and do it herself, it tells us that she’s panicking, both bc this change they thought they could beat by getting a transplant before it got this bad, but also bc it brings to the surface that for all this time, the last months of day having some sight, she’s been absent and swamped with work and hasn’t been there with day, taking care of him, doing things with him, enriching that time, and the guilt makes her double down, at the expense of day. and it’s nothing anyone but herself can deal with, address that feeling and know that maybe she could’ve done different, done better, but ultimately that time has passed and change can only be made now, in the present.

and for night, wow. i wanna commend mark so much bc for me, he managed to capture that sense of a child in an adults body so well, bc this ep was about him healing that child inside of him that felt second best and not cared for like his brother was. and it says a lot that he cried more when his mother made his favourite dish after so many years than he did when day forgave him, bc for the whole show we think that the heaviness he is carrying is the guilt of the accident, but it’s only in the past few eps we really know what the root of it all is. and that’s not to say that day forgives him lightly, he absolutely doesn’t, it says more about how he actually has been keeping count of all that night has been doing to make it up to him, from taking him to go with mohk on the trip to bringing him a phone, night has constantly been trying to show that he does care, and none of it feels insincere, like just trying to get rid of a guilty conscience, he actually wants to be the big brother he wasn’t before. and when he cries at his favourite meal, it feels cathartic not just for all the obvious reasons of feeling loved and included, but for night that’s been doing all this stuff to show day he cares, finally someone is doing that for him, and it’s like he finally knows what that feels like on both sides, for someone to care enough to do something like that for you, and to receive that act of love. finally, it feels like all that care he was showing other people is being returned to him, and it’s not out of courtesy, it’s bc they care for him just as much as he cares for them.

[katierosefun]

modern family is all fun and games until you get to the scenes where you burst into tears because the once-vaguely homophobic dad now refers to his son's husband as family, and also the academically gifted daughter realizes that her dorky, clumsy dad was always really proud of her and just never surprised because he just assumed she could do anything, and also the eldest daughter who eloped comes crawling back to her parents' room and whispers that she still wants her parents to be present for her wedding, and also the anxious queer lawyer character admits that he was terrified that his husband would just leave him alone with their baby daughter, and also that the once-vaguely grouchy dad looks at his stepson and tells him that what makes a family is who sticks around, not who you're blood-related to and anyways what was i saying

[espectres]

Ppl don't understand how Toichiro is so interesting how he doesn't gaf if anything legitimately harmful happens to Shou ( due to Shou's own actions or even by Toichiro's own hands at the point of wda ) but the second anyone else is like ?? literally after his son's life ?? good old oyaji goes bonkers

[tigergendermoved2tigergender]

Remembering the toxic hellscape that was 2015-2019ish SU fandom and just how much hate the show got is really insane when you rewatch the show after it's been a while. Like the show is good what the hell were any of these people talking about

[jasontoddenthusiastt]

‘The point is not “is bftc good Jason characterization”’

Actually the point can be anything that the op of the post wants it to be. Oh you mean that is not your point. Um …. Cool. Nobody asked.

[quietwingsinthesky]

Hiiiii! So, a few days ago you were talking about the whole thing with Amy, Rory, and River. And when I saw those posts a thought arose in my head and I wish to share it with you.

Since River grew up with Amy and Rory as Mels. And Mels was Amy's best friend do you think that they ever talked about children? Since I know that it can come up when talking with friends, and like... do you think that Amy might've ever expressed whether or not she wanted children?

And if she didn't, that Mels would've had to listen to her mother say that she doesn't want children? The idea is so heartbreaking and sooo interesting.

What do you think about it?

no, no, see, you're so right and this drives me wild.

because, the way i see it, i don't think amy wanted children. she's somewhere on the 'hasn't thought about it' to 'vaguely negative feelings about it happening' range to me, which falls sharply into 'Not Happening Ever Again' post-s6. (specifically, in terms of having a kid herself, even if she could, i really don't think she would. i do love that she and rory end up adopting a kid later, because that does make sense, for amy pond who grew up alone in one universe with her family swallowed by cracks in time before the doctor helped her set it right again, for her to want to make sure another child won't be alone in the world like she was. getting off-track here.)

and that's so. because the first real memory river/mels has of amy is of amy shooting at her. and depending on how well the silence fucked up the rest of her memory, it might be one of the very first memories she has at all. that's how she met her mother, crying for help and getting a bullet instead. her mother tried to kill her, so of course, you have to think. she must have needed to hear that she was wanted, right? even if she was taken away, even if amy shot her, at some point, melody must have been wanted?

river is good at getting people to do what she wants, but she is very, very bad at subtlety. and mels is younger, has less practice, so when she wants to know this, she's just going to ask. blunt and quick, easy enough because amy's used to the way mels will open her mouth and you just have to be ready to roll with what comes out if you want to keep up. it's why they're such good friends (like mother, like daughter.)

they're nine, and mels asks if amy wants kids, and amy wrinkles up her nose and says she won't have time for children, obviously, once her raggedy doctor finally comes back. they're fifteen, and amy and rory dance will they-won't they in a way that makes mels twitchy to watch, and taunting amy about wanting to have rory's babies is a good way to get on her nerves. but amy calls her gross, tells her she's got more life planned than children would leave room for, and besides, imagine her, a mom? it'd be a disaster.

mels does. a lot. she looks at her mother and just sees her best friend instead. she's not even sure what she wishes was there, but. maybe amy's right. and besides. imagine her, a daughter, instead of the ticking time bomb she really is? it'd be a disaster.

they're sixteen, seventeen, eighteen, and on. mels stands on the outside of a love story that births a universe. and her. how do you compete with that? not that she would know, not yet, she hasn't been there. but it doesn't make her feel any less alienated when amy and rory talk in whispers about a half-remembered world that's bled through to this life, about roman soldiers and boxes and the big bang of belief.

all these memories, they never mention children. on amy's wedding day, she's different, not like someone remembering a dream but someone who lived it. rory stands straighter, won't leave her side, and they're both so much older than they were yesterday. maybe now, right? a wedding's as good a time as any to decide you want kids.

mels not being at amy & rory's wedding is such an obvious lazy way of them trying to explain why they totally didn't just throw this plot twist together at the last minute that i'm not even going to acknowledge it. of course she was at their wedding. she's their best friend. there's too many people around the doctor, and she wasn't ready today of all days, so despite this horrible burning need under her skin to strike, she stays her hand. doesn't let him dance with her because she might just tear his throat out if he gets too close. stays with amy and rory as the maid of honor should. she must have been there for the awkward questions that always gets asked, 'so, any plans for a baby?' 'when am i getting grandkids?' 'oh, you two are going to have gorgeous children together.' standing a few feet from amy in her wedding dress and watching her mother tense and grit her teeth and brush off the questions. watching her look nervously at rory but never ask if he means it when his mom asks him if he'd prefer a son or a daughter, and rory answers 'either one, some day, not anytime soon.'

god i'm just going on and on, aren't i. but really, what's it like to know that amy never changed her mind. the next time she sees them, she's already been born and stolen. i don't like let's kill hitler for. so many reasons. but there is something compelling about how recklessly river lashes out at the world, at the doctor. even her sacrifice at the end is almost suicidal, throwing all her regenerations into this man without knowing if that will even work or if it might kill her to do it. but it makes more sense in the context of someone who has reached the end of a long, long wait for some kind of indication, any kind, that her mother wanted to have her. and finally been told, no. she didn't choose melody.

[bmpmp3]

lemme tell you im starting to get a little sick of when im complaining about when a show or movie is writing a major female character with not as much depth as her male cohorts or she's written oddly plot device-like for a main character and people always tell me "oh but it's intentional, we're seeing her through the eyes of the male main character and he has a crush on her so he doesnt see her flaws" because like

FIRST of all yeah i get it but its hard to write that trope interestingly to me at this point without a lot of work put into subversion so intentionality doesnt make it any less boring

SECONDLY half the time people say this about ensemble cast stuff and like why is the random dude suddenly designated as the most perspective of all perspective characters when it comes to this specific woman. why dont we get to see the other characters perspectives on her too?

AND THIRDLY do people view women they have crushes on as bland plot devices without lives of their own enough irl that this is so universal in writing? isnt the point of having a crush wanting to hang out and know more about your crush, know about their likes and dislikes and all that. am i missing something here

[angeart]

Well now I just wanna know even more about your ocs and their story! xD Even before all the spooky stuff, Raven being placed in the middle of someone else's life and there's pressure to remember people and things he doesn't... And the watch, is that significant, what happens if Raven makes it to new years (hopefully with his sanity intact)? And what is up with this universe's Raven that just 'ah the amnesia hit him again' ?

And what did Rei do to get people that pissed at him? And but is he still trying to look out for Raven even if he acts like he's not?

-🎀

ribbon anon, you have no idea how happy these questions make me.

there's not a lot of pressure on raven to remember things he doesn't, because everyone around knows he gets these amnesia spells. it's still tough on him because he has to navigate this world anyway, and it lets people be dismissive of him. because—there's no reason to make friends with someone who's bound to forget you in a couple of weeks or months anyway, right? (it also gives a green card to be a shit. he won't remember!) (fun morality dilemmas right there.)

he's entirely lost, made to "play family" with people he doesn't know, live in an appartment that's wholly unfamiliar to him yet he's meant to call it his home, and whenever he steps outside, he has to deal with all these strangers looking at him knowingly while they don't know anything about him, actually. and on top of that there's the voices and shadows and mirror reflections...

add in him being worried about evia as she gets close to rei, because he isn't yet sure what kind of person rei is. and then later on kye telling him he needs to stay away from rei. (that they both do; him and evia. especially evia.) that raven should help them bring rei down—

except. kye's words come at a time when raven's already experienced the cracks in rei's masks. they come at a time when raven's beginning to be acutely aware that rei cares and he's hurting.

and now raven has to decide who to trust and side with, caught in the middle of it all.

... so let's talk about rei.

rei is meant to be a troublemaker, this uncaring character who only cares only about himself... and yet this caregiver role is thrust upon him, where he has to also (begrudgingly) make sure raven's okay whenever he forgets things, right? he's tired of this cycle. tired of doing the same things over and over pointlessly.

i had lots of notes on their childhood and young rei leading to how rei got to be like this, and why. but if you want to know about The Incident that so fiercely set nick against rei... well.

rei used to have a girlfriend. and they were young and stupid, and it was a little bit toxic.

ok, very toxic.

see, rei often felt like he's not paid a lot of attention, and he isn't as loved as raven is. that he has to actively take, whereas it always felt to him like raven is just given things. like he always had something to compete and fight for.

and so when he got into this relationship, he really just dug his nails into the idea that he's now wanted and needed. that this was his.

it was possessive, and controlling, and bad.

it ended on a cliffside in a tragic accident.

rei was trying to prove something. like an idiot that he was. she was trying to leave, and he was trying to insist she needed him, cornering her near the edge as they fought.

he tried to grab her, but she fell anyway.

kye and nick were witnesses, and from far away, it looked like rei pushed her.

from kye's recounting of events, it isn't clear if she survived or not. what is searing, though, is the idea that rei never got any kind of backlash from it. he never got punished. he never stopped treating people like shit, making him a ticking time bomb until it happens again. because he hasn't learned his lesson.

nick wants to teach him that lesson, by any means necessary. even if those means are equally as bad as what he thinks rei did. (to be fair, nick is also a little psycho who enjoys people's suffering and power, soo—) (it's kye who's going into this thinking they can do it right.) (it's kye who's begging raven to help them. to go against rei. to let rei feel some consequences; to teach him that people aren't toys or possessions.)

(rei knows these things.)

here's a fun little note i have on rei:

Rei’s choice to be a troublemaker (to fight, physically, with the world around him) was his way of dealing with the things inside of him. But he never wanted that little sphere of destruction to reach anyone else. He never imagined it would ever affect anyone but himself.

[yavin42]

some people love to pit black sails and ofmd against each other for a weird and unfounded battle over pirate show supremacy. but apart from the tonal differences and totally different perspectives of their main themes, and the fact that it doesn’t diminish either shows to recognise the other, it seems to me that in ofmd there are numerous quotes and appreciative nods to black sails in both dramaturgy and minor details (despite their differing genres) that make clear that it’s not the intention to be the “better queer pirate show” that some fans seem to read from it as an act of insolence but a recognition of the great work that at least in some way paved the road for their show. ofmd is in itself a transformative work both in it being in a way like fan fiction and its consistent commitment to giving tropes of incredibly popular genres of fiction (both the adventure/pirate story and the rom com - genres that come with a whole force of normative power) a different spin and a new reading.

[spacedace]

Alright so I know a lot of peeps aren't going to like my take here, but the thing to remember about Azula smiling at the Agni Kai between Zuko and Ozai is that we're shown Azula smiling only because that's how Iroh imagined her reacting.

Thr flashback we see is from Iroh's perspective, everything we see is what Iroh saw. Except that Iroh looked away when Ozai burned Zuko. He told us this and we say it in his flashback. Specifically he turned away from where Azula is standing next to him, so there's no way he could have seen her smile.

But we did see her smile in his flashback which, to me, means that her smiling while her brother got burned was just what Iroh imagined her to be doing at the time.

Now, I want it on record that I don't hate Iroh (I love him and his tea so much yall, i just think he's a lot more complex and interestingwhen you acknowledgehis character flaws) and I'm not saying that he purposefully lied to make Azula look bad either. I think it's simply a matter of how Iroh sees Azula, which pretty consistently has been shown he doesn't seem to like her very much. He favors Zuko, but I think Iroh - much like a lot of other people - see Ozai favoring Azula and think that his brother does so because Azula is like Ozai, and holds that belief against her. So much so that he can't see the child beneath the image projected on her (by herself and others) like he can with Zuko.

TL;DR: we have no idea what expression Azula really had during thr Agni Kai and are only seeing Iroh's skewed ideas of what she looked like in the scene.

[todayisafridaynight]

It's been wonderful being able to talk about these things for me too! I haven't really had the opportunity since Y7 came out, so I'm positively buzzing. And no worries about the tone of your post about Daigo's article haha, I appreciate it when issues are pointed that I might've missed otherwise since that's at least something actionable.

But I'm obviously not going to stop anyone from venting frustrations with the wiki or with Fandom as a platform; I frequently find myself frustrated too! It's one of the things that keeps people editing the wiki. I'm honestly fine with whatever as long as it's not accusing us of being fujoshi for the billionth time lol, but for better or worse I do like to clarify what we're trying to do if there's any confusion.

Speaking of, Mine's relationship tags are kind of a funny story! So a lot of them have these dotted underlines and question marks, right? You're supposed to be able to hover over underlined terms to see a short definition (on desktop) and click the question mark to see an article with all the definitions on mobile, since hover actions aren't possible on a touchscreen.

But since the article was and still is under construction, Fandom doesn't show the link to logged-out users. So I had no idea it just looks like we're saying the tag is ambiguous lol. It's up now though, so it's hopefully easier to understand what we're trying to do!

I just found it funny I specifically added that feature to reduce confusion. Half the grief we get over Mine's "romantic interest" tag is because people assume we're saying it's mutual (we chose the term to try and avoid the "mutual" connotations of "love interest," but I guess that didn't work out). I also thought it might help with somewhat esoteric tags like "co-parent" (which was put in place for Jo and Arakawa and then I kept thinking of others) and "surrogate son." Turns out it's tough to boil complex relationships down to one term!

I definitely have SO many questions about New Year's Day and I probably always will; for the space of only one night, it's a huge blank. I certainly do have to wonder if shipping Masato off to America was decided then and there. There's a lot that could possibly be expanded on in RGGO (further interactions between Arakawa and Jo included lol), so I've got hope for that too now that we're back to random events. I'd be really interested to see how you'd portray it someday!

Talking about Nakai and Tsutsumi reminded me, Nakai mentioned he read the whole script in a day so he "wouldn't do a disservice to Arakawa or Sawashiro's characters." That kind of stuck out to me precisely because there are so few scenes between them compared to like, Arakawa and Ichi, and they're all relatively low-impact in comparison.

Of course, it could be marketing on account of him and Tsutsumi getting to co-star again, or the scenes could simply have stood out to him more for that reason, or he could've had a different impression of the ratios having read the script rather than played the game. But the part of me that makes me want to go Off The Deep End speculating is kind of wondering if there were other scenes planned?

And absolutely! I'm not able to reblog often because the post editor's been crashing whenever I try to tag my posts, but I hope you know I love your work and I'll support pretty much anything you put out! I'm very excited to share my findings as well.

A lot of it's to do with Mine's relationship to Western culture vs. Japanese culture (his "westabooism," basically), so that's specific to him, but there a lot of interesting concepts and theories in Japanese psychology regarding familial bonds, met and unmet emotional needs. They work as an explanation for his probable feelings of alienation from Japanese culture, but I feel they would make for an interesting lens to examine the Arakawas through as well.

I actually hadn't ever considered the similarity with regard to Mine and Jo's dads, but that makes so much sense! If I were to take it a step further, I think feelings of "abandonment" by their fathers have had long-lasting effects on both them and Masato. Jo we've been talking about, his father was technically still "there," but he wasn't in his corner, which feels much the same as abandonment to a child.

I think Mine's internalized a lot of the same feelings even though his father never meant to abandon him (I guess Jo's may not have, necessarily; alcoholism can destroy a family whether the individual wants that to happen or not). Like, unfairness, displacement, lack of control, the loss of the only support you have and so on. I think dwelling on that is what sent Mine's mental state spiraling, and what made it imperative to just believe Daigo was "dead" to try and move on as soon as possible. He didn't want to be hurt the same way again.

It's also probably what he was projecting in his ridiculous villain speech during The Orphanage Scene; the reason offering kids support in the way Kiryu does is a form of "victimization" in his eyes, at that moment, is because that support can be ripped away from you at any time. The scene is kind of hilarious to me because it's like, "okay we need Mine to have a kick-the-dog moment, his actions have been too understandable," but I do get it from that angle.

Similarly, I think those feelings of abandonment are why Arakawa faces the brunt of Aoki's abuse, because it's like, "YOUR negligence is why I had to go through all of that." So I get why Jo, like your sister, wouldn't want the finger pointed at him, but at the same time… damn. Perhaps if Arakawa had never had that talk with Masato, things might've been different. I get the impression he wouldn't be able to endure keeping things to himself for as long as Jo, though, given things like the letter he sent Ichi in prison.

Oh, yeah, Jo is CRAZY protective of Masato too! "If anything happens to him, killing you a thousand times would be insufficient!" I think part of his overreaction to having Masato's money is also that if Ichi can't listen to orders that fundamental, who's to say he listened to the orders to keep Masato safe? I guess if you see Ichiban as incompetent to the point of almost being a malicious actor, you might think that.

I'm sooo so glad you've noticed the rest of those similarities haha, I've been rotating them around in my brain like a cube for ages. A Venn diagram would be so fun to see! That's such an insightful look at the differences between Mine and Jo's offices too. I was a little confused about the placement of the social spaces, or even that they're there, but if you look at it as clearly separate from his personal spaces, it does make sense.

Also, not to harp on the books in the offices too much, but I compared the textures a little earlier. Mine's are basically all (very expensive) encyclopedias and language phrasebooks in English, Italian, French, and German, in contrast to Jo's discrete hardcovers and series of art history books. They're probably all stock assets lol, but I think they're surprisingly good fits; Mine dumping considerable time, money, and energy into his fascination with Western culture and Jo being the type to not want people to know what he's reading totally works for me.

But yes! It's kind of funny, because Yokoyama wasn't much of a Mine fan in his early days, but I hope he and the others keep on writing characters like him. I think of it as Mine's "legacy" in a series where past characters aren't acknowledged too often; the most I can recall are that Hakuho mention in 4 and the fencing around the Touto roof perimeter.

Speaking of, I love Mine's missed shots in the finale specifically because he's an excellent marksman in his Okinawa character story. Why? How? Who Knows, He's Perfect. (Probably not as good of a shot as Daigo though lol)

And yeahhh, there are other interviews, but it ain't the same! It was the most in-depth one I know of. I think this is one of the only remnants, and I shall entrust it to you.

But yes, exactly! And I'm also glad Y7 introduced more people to them (myself included), Tsutsumi's my favorite actor of all time and Nakai's brilliant. They make a great combi! Of the things I've seen where they co-star, I think Princess Toyotomi and Hero SP are both solid; the latter is a special for a longer show, but I honestly didn't even notice lol. Musashi I wasn't personally able to get through even though I've read the book, so I'm not sure how it plays out between them.

Also I DIDN'T KNOW TORU DIED IN PURE??? That came out of nowhere oh my god T___T But if you're ever looking for anything rare, feel free to ask! I might know a guy (gender neutral) with a stash, Fly, Daddy, Fly included.

OH MAN MINE'S WIKI ENTRY I've definitely made my opinions about it known, but now knowing the truth behind it it's kind of funny and still so unfortunate. I'd almost want to recommend a section dedicated to the topic since it's such an integral part of his character, though I also understand wanting to keep the wiki strictly to factual information and to exclude speculation (or "speculation" anyhow- it's definitely more of a concrete situation, especially going off of the information provided in your pinned post on the topic. If anything, that sort of information would belong to the "Trivia" tab wouldn't it- but again, it's such a deep situation it can't really be summarized in one or two sentences) and the topic being too niche to have a page dedicated to it. It's nice to know that the subject isn't trying to be brushed under the rug though and it's just a matter of awkward formatting/incomplete work!

Furthermore on The New Years Event, I would LOVE RGGO to expand on the topic since they've been so liberal with the stories they make and the depth those stories add to the characters. Honestly, I was expecting Masato's card to have that as its accompanying character story, so it's unfortunate that he doesn't get it or any story as far as I'm aware (or maybe he does have one and my poor pull luck has just prevented me from getting the card to find out myself, but I've looked as much as I could and couldn't find an upload of it). Oh well, I guess it's the old "if you want something done you gotta do it yourself-" not that anything I could make could ever be up to scratch, so I'm glad I do have people interested in what I have in mind :)

About Nakai, I wouldn't feel wrong trying to accredit his comment to a time before he knew the full plot or saw the full game and was just debriefed on the general story/character relationships, and I also wouldn't put it past RGG to have deleted scenes/ideas (if those do exist, RGG please let me in your vault I'd like to take a peak...)!

The psychology of Mine is another topic I've been wanting to officially tackle for a while now, so I'm glad I have this chance to share some of what I have mental bullet points for.

Moreover, Mine's dad and how he "left" Mine undeniably impacted him significantly beyond physically leaving him alone, and it definitely manifests in The Orphanage Scene and his idea that killing Daigo would be "putting him out of his misery". In those instances, he sees Daigo and the orphans as victims of an unfair reality, Daigo being comatose, and the orphans having the endure the struggles of being orphans (and that added-on, projected anxiety that their comfortable lives now could vanish at any second like it did for Mine). Mine's mustache-twirling villainy is funny for its absurdity, but I also genuinely appreciate it since it lets us peak into his warps philosophy better. It doesn't justify his actions by any means, but it explains to us why he can justify his actions as from a place of love or pity as opposed to thoughtless evil.

To add on, Mine's relationship with his father, from what we're allowed to gather, was healthy and positive. Because of their positive relationship, the removal of such adds credence as to why Mine's desperate to get that love again. It especially makes sense considering Japan's horrendous attitude and negligence towards orphaned children that was even demonstrated during Mine's childhood while his father was alive.

And as an inverse aside, Jo's relationship with his dad was toxic, whether it was due to blatant abuse or combined negligence. It's fair to assume that Jo never got to experience genuine, secure love growing up, so as a result, it's not something he actively seeks out. He's been without it long enough that it's not something he necessarily craves like Mine who used to have it until it was taken from him.

Masato certainly makes it clear he felt isolated despite the efforts Jo and Arakawa repeatedly went through for him, and it's apparent it's an unfortunate side affect of internalized ableism. It definitely doesn't help anyone's case that Masato had seemingly been informed of the night of his birthday's events (from Arakawa's point of view, obviously), and it's clear that knowledge gives ammunition as to why he resents him.

You're right on Jo potentially seeing Ichi as a bad actor, it's not as if he has disdain for him for no reason! Like even if Ichiban hadn't taken Masato's money the way Jo could have imagined, the idea that Ichi can't be responsible in one avenue can easily lead back to Ichi having the potential to look after Masato, especially when he seems to be the one who predominately looks after him when he's tasked to.

I've already got my program open to make my little chart and have my reference pictures ready, so hopefully I can have that silly thing out soon haha- I'm glad you're interested in seeing it, and I hope other people will like to see it too! Jo and Mine really are my favorite antagonists, so it's funny (and I guess not surprising) that they have parallels to them.

To add on to that though, I think it's fun to look at the extra details, no matter how small; I'm probably more happy than I should be that you looked at their office's books, but I can't help be a fan of the details you found (whether they're generic models or not, I'm running with them- I've done more with less before lmao)! Mine having language books is definitely in-line with his interests, but Jo having art history books is weirdly endearing (and dare I say another point for "these are the same picture" comparing it to Mine's own love for art). Jo being so private to the point of blocking out the binds of the books he owns is so accurate to him and his secrecy, and the concept that he likes to read about art in his spare time is a new favorite concept for me.

Mine really isn't acknowledged much after 4; in comparison to Ryuji and Nishiki, he's remembered throughout the series the least (you can argue the same for Ryuji, but considering he gets a whole new life in Dead Souls, I think it's fair to say that makes up for the mainline series forgetting about him. Though I guess the same could be Mine getting a prominent role as Hijikata in Ishin... Definitely not as cool of a spot as to be a playable protagonist with a machine gun arm if I'm honest). In that, it's great that his likelihood can exist in future characters, and I hope they continue the trend of phenomenal antagonists in LaD8 and onward!

I'm eternally grateful for this frame you've gifted me thank you so much- Nakai's smile is such a blessing honestly, I'm glad if anything survived from the interview it can be this shot at least.

I've got Princess Toyotomi and Hero SP added to my watch list, DEFINITELY something I'll be excited to check out as a reward once I have all my important business taken care of this week! Honestly, I haven't seen Musashi either: while I was looking through their filmography I saw it was a project they did, but I've always been bad at watching long series so I didn't take the time to see their performance together.

For things I have seen though... yeah he dies SORRY IF THAT WAS HOW YOU FOUND OUT </3</3 Honestly I didn't expect myself to love the series as much as I did (admittedly it was predominately because of the leads and their relationship), but when it happened I was both- dare I say crushed- a little humored a little funny in a dark-comedy way.

And if you do have access to harder-to-get films, I'd absolutely be interested in hearing about it. One of Nakai's movies Good Morning Show has been haunting me for weeks: it sounds like such a fun movie yet I can't find it anywhere </3